‘Wonder Woman’ breaks records with strong debut

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‘Wonder Woman’ breaks records with strong debut

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DC Comics’ female superhero movie “Wonder Woman,” directed by Patty Jenkins and starring Gal Gadot, powered over Korean and North American box offices over its debuting weekend. [WARNER BROS. KOREA]

“Wonder Woman” dominated both Korean and North American box offices in its debut weekend. The Patty Jenkins-directed superhero film powered its way to raking in 7.19 billion won ($6.4 million) at Korean theaters from Friday to Sunday, selling 830,000 tickets.

DC Comics’ female superhero movie conquered milestones and movie myths at North American theaters, where it had a $100.5 million debut this weekend and became the biggest blockbuster ever directed by a woman.

The well-reviewed movie easily surpassed industry expectations with one of the summer’s biggest debuts, according to studio estimates Sunday. Starring Gal Gadot as the Amazonian warrior princess, “Wonder Woman” is the rare - and most successful - female-led film in an overwhelmingly male superhero landscape.

It proved a hit with moviegoers, earning a CinemaScore of A. While skewing somewhat female, it drew a fairly evenly split audience. Warner Bros. said 52 percent of the audience was female and 48 percent male. “Wonder Woman” added $122.5 million internationally, including $38 million in China.

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“It shows that superhero movies aren’t just about men. They’re about women as well,” said Jeff Goldstein, distribution chief for Warner Bros. “All the noise about Patty Jenkins breaking the glass ceiling for directors. I think that added to it as well.”

Women have long struggled to get behind the camera of Hollywood’s biggest productions. Female directors accounted for just 9 percent of the 250 top-grossing movies in North America in 2015 and only 7 percent in 2016.

Jenkins, who previously directed 2003’s “Monster” starring Charlize Theron, now holds the record for biggest domestic opening for a female director. The previous mark was Sam Taylor-Johnson’s “Fifty Shades of Grey,” with $85.1 million in 2015.

Some still had issues with “Wonder Woman.” Online critics complained of gender inequality after the Alamo Drafthouse, a Texas-based theater chain, scheduled a handful of female-only screenings across the country. Lebanon banned the film because Gadot is Israeli.

Nevertheless, “Wonder Woman” represents a turning point for Warner Bros. and DC Comics, which have together struggled in recent years to match the Marvel-Disney juggernaut. While “Wonder Woman” didn’t match the box-office might of “Batman v. Superman” (a $166 million opening) or “Suicide Squad” ($133.7 million), it was much better received than those roundly derided releases.

“This is a dramatic step in the right direction,” Goldstein said. “We’ve heard fans. We’ve heard critics. These properties are very complicated and beloved. To get it right, it takes a lot of work. I think on this movie, all of us got it right.”

Last week’s top film, “Pirates of the Caribbean: Dead Men Tell No Tales,” slid dramatically to $21.6 million in North America in its second week. It landed in third place, behind Fox’s “Captain Underpants: The First Epic Movie.” The animated release, in which a pair of students make their principal think he’s a superhero by hypnotizing him, opened with $23.5 million.

But “Pirates” still sails well overseas. It’s made $386.6 million internationally, driving the Disney sequel to more than $500 million globally.

Though “Pirates” also slid to second place in Korea, it managed to earn 4.2 billion won. Local historical drama “Warriors of the Dawn,” directed by Chung Yoon-chul followed. Starring Lee Jung-jae and Yeo Jin-gu, the 20th Century Fox’s latest production in Korea tells the story of proxy soldiers (who served other people’s military obligations to feed their families) tasked with protecting Gwanghae when King Seonjo (1552-1608) flees for his safety during the 1592 war between medieval Korea and Japan.

BY JIN MIN-JI, AP [jin.minji@joongang.co.kr]




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